Category: Dance

Remade as a muscular, heroic underdog for our times, this new Spartacus is crisp and compelling storytelling. Despite Khachaturian’s glorious, ever-shifting melodies, Lucas Jervies’ choreography does veer to the repetitive and monosyllabic, but he’s a director well versed in the drama of theatre; and with dramaturg, fellow director Imara Savage, knows how to stage a good

Antony Hamilton’s new work is like some frenzied techno party, with fantastical costumes, lasers and colour flashes, dancers forged into fractured robots – it all makes you wonder what they’re on. And it makes the first in this Sydney Dance Company double bill, a revival of Rafael Bonachela’s Frame of Mind, seem almost classical, even lyrical. Composer Julian Hamilton, from The Presets, came to his brother Antony with just a few “acid lines” to choose from, one

In terms of possibilities, the title One Infinity appears limitless. And in truth, this enigmatic, meditative work is both particular and – well – eternal. The Merlyn at Melbourne’s Malthouse seems transformed. It’s become a vast cathedral lit by massive shafts of light, cutting at the highest points through the darkness – then dissolving into soft, shadowy

It’s unusual to spend an evening at the ballet and think of Trump, Kim Jong-un, the #metoo movement, modern slavery, and…the rippling torso of actor Chris Hemsworth.  But The Australian Ballet’s shiny new Spartacus, choreographed by Lucas Jervies, and set to a dramatic score by Aram Khachaturian, draws on the well-told story of the heroic

We know how this story ends, but what about the beginning? That’s the question Dark Emu forces us to ask about our understanding of how indigenous Australians lived before British colonisation. Bangarra Dance Theatre’s new production, directed by Stephen Page, and choreographed with Daniel Riley and Yolande Brown, culminates in the often-told scene of invasion.

While ballet often puts females up front and centre stage, choreography in Australia (and more broadly for that matter) has mostly been a male domain. But the Australian Ballet’s Alice Topp appears to be one of the women breaking that mould. Her first full-act work Aurum (pictured above) received rapturous applause at its world premiere in Melbourne

When love gets you down, they say the best remedy is to get straight back out there. And so it is in The Merry Widow, choreographed for The Australian Ballet in 1975 by Ronald Hynd, and now revived in its season at the Arts Centre, Melbourne until June 16. Ludicrously rich French widow, Hanna Glawari, is

After a decade running the Sydney Dance Company, Rafael Bonachela’s new full-length work finally proves how much more he is than a master showman and frenzied crowd controller. ab [Intra] – Latin apparently for from within – began with his 15 dancers in the studio scribbling their thoughts, feelings and ideas on yellow Post-it notes.